Born+In+The+USA+-+Studio+Sessions

include component="page" page="content_legendott" wrap="1" code Commercially Released: June 4, 1984 Produced by Springsteen-Landau-Van Zandt-Plotkin Recorded by Toby Scott (Hit Factory/Power Station) and Mike Batlan (Thrill Hill West). Recorded at The Power Station, NY, The Hit Factory, NY and Thrill Hill West, LA, January 1982 - March 1984 code Part One - Born In The U.S.A. Session Overview

The //Born In The U.S.A.// sessions spanned a two year period and produced the largest quantity of completed song recordings of any session of Bruce’s career. The sessions can be broken down into four distinct phases:


 * Phase One -** January thru May 1982, featuring The E Street Band (with Van Zandt)
 * Phase Two -** January thru late April 1983, featuring Springsteen alone on multiple instruments
 * Phase Three -** May thru June 1983, featuring The E Street Band (little or no Van Zandt)
 * Phase Four -** September 1983 thru February 1984, featuring The E Street Band (no Van Zandt)

According to comments by Max Weinberg, nearly eighty songs were recorded over the course of the entire //Born In The U.S.A.// sessions. Co-producer Chuck Plotkin has mentioned the number seventy. Springsteen also once stated seventy. In evaluating seventy to eighty it is not clear if these numbers include the thirteen songs from the solo //Nebraska// sessions that have never surfaced in any form with an E Street Band or multi-instrument backing (i.e., the ten songs issued on the //Nebraska// album, plus "The Big Payback", "Losin’ Kind" and "Child Bride"). Thanks to information from Sony's studio logs, we now have a far better understanding of the sheer scale of Springsteen's output at this time, as well as the layout of the sessions. Perhaps the most significant information gleaned from the logs is the final confirmation that the majority of //Nebraska// songs *were* recorded with the band at The Power Station, as well as songs like "Robert Ford" and "Fade To Black" which were demoed in 1981 alongside those //Nebraska// tracks.

Currently, thirty-two different songs have been officially released from the //Born In The U.S.A.// sessions, including those originally recorded for but not included on //Nebraska//. There are thirteen other songs that are circulating unofficially as complete takes in very good sound quality. Eight songs from //Nebraska// ("Atlantic City", "Johnny 99", "Used Cars", "Nebraska", "Open All Night", "Mansion On The Hill", "Highway Patrolman" and "Reason To Believe") are known to have been recorded with the band, plus another thirty-three songs that may have been worked to completion. Altogether these total eighty-six songs, fairly consistent with Weinberg, Plotkin and Springsteen's recollections. The following list is ninety-one songs from the period that have either been (a) officially released, (b) demoed, (c) rehearsed with the band but never recorded, or (d) cut in the studio but not released. Much of the studio session detail below is courtesy of Clinton Heylin's book //E Street Shuffle - The Glory Days of Bruce Springsteen & The E Street Band.//

Part Two - Born In The U.S.A. Session Details

The //Born In The U.S.A.// sessions began in mid-January 1982 as part of Bruce and The E Street Band’s work at The Hit Factory on the Gary US Bonds' //On The Line// album. The //Born In The U.S.A.// sessions merely flowed on from the Bonds sessions. However Springsteen alternated his own sessions between The Power Station and the nearby Hit Factory over the course of the next few months.

It appears Springsteen had what might best be described as three different batches of songs ready to record in January and February 1982 – firstly the group of stark story songs he recorded as solo demos in early January (the //Nebraska// material), secondly a group of soul-influenced songs he brought along for possible use on the US Bonds' album and… thirdly, a group of rock-orientated songs. However Springsteen was not satisfied with the way many of the //Nebraska// demo songs sounded with E Street Band backing and by early April he began actively exploring the possibility of releasing some of these solo demos as a solo album. The decision in May to proceed with the solo album appears to have put the band sessions on hold – for what turned out to be nearly a year. code PHASE ONE SESSIONS (including the so-called 'Electric Nebraska') Recorded at The Power Station (New York City) and The Hit Factory (New York City), mid January 1982 to late May 1982 Recording Engineer: Toby Scott

Titles marked with a hash (#) are Colts Neck band rehearsal recordings from April 1982 code Note: Recorded at The Hit Factory on January 25, 1982. Unused recording from the Gary US Bonds sessions. This recording utilizes a horn section (Cruz-Manion-Pender-Rosenberg-Spengler) that was recorded in 1998 (not 1982) and added to the core recording for //Tracks//. The original 1982 element was not recorded by Toby Scott but rather by Neil Dorfsman, the engineer for the Bonds LP. Note: Recorded at The Hit Factory on January 25 and/or February 23, 1982. Song considered for Gary US Bonds but not used – donated in 1983 to Clarence Clemons & The Red Bank Rockers for their debut album. Note: Recorded at The Hit Factory in January or February 1982. Probably the same core recording as found on the US Bonds album (i.e. the E Street Band) – but with the Springsteen lead vocal. Note: Recorded at The Hit Factory in January or February 1982. Probably the same core recording as found on the US Bonds album (i.e. the E Street Band) – but with the Springsteen lead vocal. Known to have been soundchecked twice in 1992 (June 21 in Milan and July 25 in East Rutherford) but never performed live. Note: Recorded at Hit Factory in January or February 1982. Probably the same core recording as found on the US Bonds album (i.e. the E Street Band) – but with the Springsteen lead vocal. Soundchecked on July 8, 1981 at Brendan Byrne Arena, East Rutherford, NJ, a recording of which can be found on The Lost Masters Vol. V. Note: Recorded at The Hit Factory in January or February 1982. Probably the same core recording as found on the US Bonds album (i.e. the E Street Band) – but with the Springsteen lead vocal. Note: Recorded at The Hit Factory in January or February 1982. Probably the same core recording as found on the US Bonds album (i.e. the E Street Band) – but with the Springsteen lead vocal. Note: Recorded at The Hit Factory on January 25, 1982. An uncirculated song from the same session that gave us "Cover Me" and the Gary U.S. Bonds tracks. Note: V1b (the album mix) was recorded at The Hit Factory on January 25, 1982 and registered at the US Copyright Office on February 8, 1982. The song was considered for Donna Summer at this time but Bruce elected to instead donate “Protection”. Interestingly V1 was recorded by Bill Scheniman, who was an engineer working on the U.S. Bonds sessions at the time, so this song may also have been contemplated for Bonds. It's probably more likely that he was the engineer available at the time. V1a is an alternative mix that lacks Springsteen's lead guitar overdubs. V1c thru V1f are dance/disco remixes of V1a that were cut at The Hit Factory in July 1984 by Producer/mixer Arthur Baker. The recording engineer for the remixes was Toby Scott. These remixes were first released in early September 1984. V1a and V1c-f feature background vocals by Richie "La Bamba" Rosenberg. Springsteen returned to the song with nine takes on May 12, 1982 at The Power Station (V2), all of which remain in the vaults. Note that the outtake known as "Drop On Down And Cover Me" found on the bootleg "Murder Incorporated" is actually from much later in the sessions and therefore does not pre-date "Cover Me", which was previously believed. See below for details on that track. Note: Recorded at The Hit Factory on 23 February 1982. Registered at the US Copyright Office on March 8, 1982. David Geffen approached Jon Landau to ask if Springsteen would write a song for Donna Summer. Jon Landau persuaded Bruce to keep the first attempt ("Cover Me") for himself, but he did donate "Protection", a song that he is known to have worked on during the home demo sessions in early-mid 1979. Donna Summer’s cover version of "Protection" (with Springsteen on guitar) was recorded in March 1982 (released August 1982 on the album //Donna Summer//). Bruce and Donna also recorded a duet vocal version at her sessions which remains in the vault. Springsteen has never performed the song in concert, although it was rehearsed in early 1988 for the upcoming //Tunnel Of Love// tour. Note: Rumoured to have been initially recorded at The Hit Factory in January 1982, but the //Born In The USA// recording is from The Power Station on May 11, 1982. All three are different mixes of the same core recording. The vocalisations and arrangements of the coda vary slightly between V1a and V1b. These two mixes also have longer fade-outs than the officially released V1c. Note: V1 and V2 are two takes from a Colts Neck band rehearsal in April 1982. Full-band takes of a song still in the early stages of development in this arrangement. V1 is just the opening and first verse, V2 is most of the song, although the majority of lyrics are unclear. V3 was recorded with the band at The Power Station around May 10, 1982, on the same reel as "Wages Of Sin". A solo acoustic demo of this song also exists, recorded January-April 1982 - see Lost Masters X. Note: Recorded in just four takes (two complete) at The Power Station on April 27-28 and May 3, 1982. E Street Band backing version from the so-nicknamed “electric //Nebraska// session”. All the above are the same core recording. V1a contains a different Springsteen vocal overdub and a very long, extended jam ending. V1d thru V1f are dance/disco remixes of V1c undertaken by Producer/Mixer Arthur Baker and recorded at Shakedown Studio in New York City around September 1984. The recording engineer for the remixes was Toby Scott. These remixes (which included additional vocals added by The Latin Rascals) were first released in December 1984. from a recording of "Born In The U.S.A.", dated May 3, 1982. Note: Recorded at The Power Station on April 27-28, May 3 and May 5-6, 1982. E Street Band backing version from so-nicknamed “electric //Nebraska// session”. All three are different mixes of the same recording. Both V1a and V1b feature Springsteen's vocal count-in, a small lyrical variation in the first verse left over from the acoustic demo ("...laid off down at the auto yard", rather than "lumber yard"), some vocal howls in the mid-section, more up-front acoustic guitar over the final verse, and a shorter fade-out. The acoustic guitar is perhaps slightly lower in the mix on the LM-19 audio. Note: Springsteen took the lyrics of his January 1982 Nebraska solo session song "Child Bride" and wrote an entirely new rock melody to create "Working On The Highway". V1 is a Colts Neck band rehearsal from April 1982. Fascinatingly this take has a completely different final verse from both "Child Bride" and the final studio take of "Working On The Highway". In this verse the protagonist suggests that he wants to see her father to say //"my love is pure and true"//, but first he must //"drop a two lane blacktop from here to Timbuktu"//. There are also a few minor lyrical elements left over from "Child Bride", for example parts of lines three and four are reversed, as they are in the //Nebraska// outtake. V2-4 recorded at The Power Station on April 30 and May 6, 1982 during the so-nicknamed “electric //Nebraska// session”. There are three different recordings known. V4a and V4b are different mixes. Note: V1 is a Colts Neck band rehearsal from April 1982. It seems the song was fairly well developed and rehearsed at this point. Some minor lyrical variations throughout, including an extra verse about his father. The rehearsal also lacks the entire call-and-response ending. V2 is recorded at The Power Station on May 5, 1982. Four different mixes are known, though similar. V2a, V2b and V2c are unedited and contain the entire extra verse that was cut from the officially released version. The wild variations in track length appear to be due to tape speed. An alternative source of V2b includes an engineer identifying the take as #11. Note: V1 is a band rehearsal from Colts Neck recorded from April 1982. A rather pedestrian take, noted by both Max and Bruce at the conclusion of the song. Apart from that, the take shows very little variation from the final version. V2 and V3 are recorded at The Power Station during on May 13, 1982. One single take, V3 features overdubs, fixed-up introduction and fades out, whereas V2 is the complete recording without a fade. Both have been slightly sped-up with vari-speed. Title first seen in Darkness-era documentation. Note: Recorded over ten takes at The Power Station on May 12-13, 1982. Four different performances with the longer versions featuring extended beginnings and endings. V1, V2 and V3 lack the extra guitar over the introduction and the saxophone solo. V3 is take #9. Original work-in-progress title was "Down, Down, Down". Note: Recorded at The Power Station May 3-4, 1982. Different mix permutations of the same core recording. The recording found on track 3 of the LP 'This Hard Land' (Boss Productions) could be another different mix but runs very slow. Track 5 from the aforementioned LP is V1c, which lacks a "woo" before the opening line as well as some backing vocals. V1a deletes the saxophone solo after the second verse. The officially released V1e includes the saxophone solo but fades out earlier than the outtakes, explaining the ten second difference in track length. Note: Recorded at The Power Station on April 27, 1982. Also known as "Robert Ford And Jesse James". A short fragment of solo demo from Spring 1981 circulates, but this may well be a full-band take. Note: Recorded at The Power Station on April 27, 1982. Bruce would return to this song in early 1983, and it would be that take used for //Tracks.// Note: Recorded at The Power Station on May 11, 1982. Cut with the band after several solo demo workouts in mid-late 1981. Note: Recorded at The Power Station on April 27-28 and May 3, 1982. Cut with the band during the so-called 'Electric Nebraska' sessions. Note: Recorded at The Power Station on April 26-28, 1982. Cut with the band during the so-called 'Electric Nebraska' sessions. Apparently Springsteen imagined "Atlantic City" working best as a rocker. He wrote to Landau, 'This song should probably be done with whole band + really rockin' out'. Landau thought different and it was the solo version released. The full-band arrangement, however, remains a highlight of the live shows. Note: Recorded at The Power Station on April 30, 1982. Cut with the band during the so-called 'Electric Nebraska' sessions. Note: Recorded at The Power Station on April 30, 1982. Cut with the band during the so-called 'Electric Nebraska' sessions. One of Springsteen's finest unreleased songs, it's absence from //Tracks// is hard to comprehend. Note: Recorded at The Power Station on April 27-28 and 30, 1982. Cut with the band during the so-called 'Electric Nebraska' sessions. Note: Recorded at The Power Station on April 27, 1982. Cut with the band during the so-called 'Electric Nebraska' sessions. Working title was "Wanda". Note: Recorded at The Power Station on April 27, 28 and 30, 1982. Cut with the band during the so-called 'Electric Nebraska' sessions. Note: Recorded at The Power Station on April 30, 1982. Cut with the band during the so-called 'Electric Nebraska' sessions. Note: Very promising song from the band rehearsals at Colts Neck in April 1982. Well developed and practised, it's no surprise that "Stop The War" was recorded at The Power Station on May 5-6, 1982 (V2). An upbeat song about a failing relationship crippled by argument. The opening line of the song ("//I pull you close but when we kiss girl I can feel a doubt//") would later be found in "I'm Goin' Down". Note: V1 and V2 are band rehearsals from Colts Neck in April 1982 during the so-called 'Electric Nebraska' sessions. V1 is a full-band take (missing the opening lines) of the song Springsteen recorded solo in January 1982. A work-in-progress, with some lyrical variation including an extra third verse. The first verse is sung by Springsteen alone accompanied by electric guitar, before drum and bass join in for the rest of the song. A driving beat features throughout. V2 is an short take of just the second verse. V3 is from April 27-28, 1982 with the band at The Power Station. Shortly after Springsteen would decide to release the solo version of "Reason To Believe" on //Nebraska// - see the timeline below for more detail. Note: V1 is a fascinating band rehearsal from Colts Neck in April 1982. Full-band take using the "Follow That Dream" melody. Lyrics are reminiscent of "Loose Ends" - even more so than the solo acoustic demo of "Baby I'm So Cold" from around January-April 1982. See Lost Masters X. Even though "Loose Ends" was finished in 1979, it's clear Springsteen was keen to scavenge most of the lyrics for "Baby I'm So Cold". Also shares lyrics with "Janey, Don't You Lose Heart". Later recorded at The Power Station on May 11, 1982. Note: Band rehearsal from Colts Neck in April 1982. Very similar to the //Tracks// version which was recorded later in the //Born In The U.S.A.// sessions in June 1983. Note: Fascinating band rehearsal from Colts Neck in April 1982. Sinister and oppressive song about a 1979 massacre that took place on the steps of San Salvador cathedral in El Salvador. The song seems to be well developed but session logs indicate it was never recorded in the studio. The title is unknown, "Bells Of San Salvador" is our best guess based on the lyrics. This song is an evolution of an acoustic home demo listed as "They Killed Him In The Street", tracks 22 and 23 on Lost Masters X, which has the same opening lyrics. Interestingly, very similar lyrics can also be found in Springsteen's adaptation of Creedence Clearwater Revival's "Run Through The Jungle", which was performed live three times during the European leg of the River Tour. Note: Recorded at The Power Station on April 27-28, 1982. Uncirculated song cut with the band during the so-called 'Electric Nebraska' sessions. Perhaps evolved from (or even the same song as) "A Thousand Tears (William Davis)", recorded in January and February 1980 during recording sessions for //The River//. Note: Recorded at The Power Station on April 30 and May 6, 1982. Uncirculated song cut with the band during the so-called 'Electric Nebraska' sessions. Note: Recorded at The Power Station on May 11, 1982. Uncirculated song cut with the band during the so-called 'Electric Nebraska' sessions. Note: V1 is a Colts Neck band rehearsal from April 1982. Very similar to the final take, slightly slower with some lyrical variation. V2 recorded at The Power Station on May 5-6, 1982. Note: Same core recording but different mixes. Recorded at The Power Station on May 5-7, 1982. Studio venue listed in //Tracks// is incorrect. All the mixes are very similar but V1d has Springsteen adding a count-in, vocalisations over the first thirty seconds of the song and a double-tracked vocal to the choruses. V1a runs slow but appears to be a different mix, V1b cuts early. V1e has slightly different vocals at the end of the song compared to V1a-d. Springsteen said in 2001 that "My Love Will Not Let You Down" should have been on //Born In The USA.// The title "Love Won't Let You Down" can be found on River-era handwritten documents, but aside from the title the two songs are probably not related. See the listing for "Love Won't Let You Down" on the //River// sessions page for more information. Note: Recorded at The Power Station on April 30, 1982. Bruce performed part of the song (mixing it into Little Richard’s “Lucille”) at a couple of guest appearances at the Stone Pony in August 1982. However the only known complete, stand-alone performance of the song (i.e. with all its verses) was during a guest appearance on October 3, 1982. Recorded prior to the live performances, not after, as previously thought. Note: Recorded at The Power Station on May 10, 1982. Several solo acoustic demos also exist, see 1981 solo sessions page for details. Premiered live May 8, 2013 in Turku, Finland. Note: Recorded at The Power Station (not The Hit Factory, as the //Tracks// liner notes suggest) on May 11 and 13-14, 1982. Same performance, two different mixes. One of Bruce’s finest studio moments. Springsteen & The E Street Band re-recorded the song in 1995 and released that re-recording on //Greatest Hits// – but that re-recording suffers in comparison to this original on //Tracks//. Note: Recorded at The Power Station on May 14, 1982. Same recording – four different mixes. V1a is take #10, and includes the saxophone overdub during the instrumental outro also found on the officially released V1d. This is absent on V1b and V1c.

//**TIMELINE:** During May 1982 Springsteen made a decision to release ten of the seventeen songs from his January 1982 solo demo tape as his next official album – quite a radical decision for its time. The E Street Band sessions came to a halt and Springsteen focused his attention for the next couple of months on overseeing final preparations of Nebraska. However, mixing of the band material continued through June, alongside the Nebraska tracks. In fact, Springsteen even considered putting both albums out as a double record. "I had these two extremely different recording experiences going," he told Mark Hagen in an interview for Mojo magazine published in January 1999. "I was going to put them out at the same time as a double record. I didn't know what to do." An album sequence for the band album was compiled, as follows://

Side One

(a.k.a. I'm Goin' Down)

Side Two

//This May-July 1982 period also saw the effective departure of Steve Van Zandt as a member of The E Street Band (although a formal announcement wasn't made until May 1984). Van Zandt put together his band (The Disciples Of Soul) in June 1982 and the group made its live debut in July. At the same time, he changed his stage name from “Miami Steve” to “Little Steven” to reflect his change of status to a full-time solo artist. He also spent the summer putting the finishing touches on a debut solo album that he had largely completed in the fall of 1981. Van Zandt began a U.S.A./European tour with The Disciples Of Soul that would continue for most of the next twelve months. Van Zandt’s involvement with the remainder of the// Born In The U.S.A. //sessions would be minor.//

//Following his decision to release// Nebraska //and stop recording with the band, Springsteen spent the summer of 1982 in New Jersey making numerous guest appearances that became affectionately known as his '1982 Jersey Shore Bar Tour'. However, that came to an end in early October, soon after the release of// Nebraska//. Springsteen spent nearly all of the next five months (November 1982-March 1983) in Los Angeles, returning to New Jersey only for about two weeks during this period to attend Van Zandt’s wedding (December 31) and the closing night party for Clarence’s short-lived club Big Man’s West (January 8). During November-December 1982 Bruce had Mike Batlan install a home recording studio at his house in Los Angeles. Springsteen recorded more than an album's worth of songs over the early months of 1983, playing all the instruments himself (except for a drum machine). These became the second phase of the// Born In The U.S.A. //sessions.//

code PHASE TWO SESSIONS Recorded at Thrill Hill West (Springsteen’s Los Angeles home studio), mid-January to late April 1983 Recording Engineer: Mike Batlan code Note: Compelling song about a boy's indoctrination into the Klu Klux Klan. The Lost Masters liner notes say it was recorded January 4, 1983 - this may be an error as studio logs only list one take, recorded March 10, 1983. Note: Short but sweet. The Lost Masters liner notes say it was recorded January 4, 1983 - this may be an error as studio logs only list one take, recorded February 15, 1983. Note: Two known takes, recorded January 20 and March 24, 1983. Which take is on Lost Masters 16 is unknown. Note: Only one known take, recorded January 19, 1983. Considered for use as a b-side in March 1983 - see below for details. Note: Only one known take, recorded January 20, 1983. No relation to “Bobby Jean”. Note: Two known takes from March 24 and April 16. It is unknown which of these two takes is on Lost Masters 17. Another stunning composition, Springsteen would later record it at The Hit Factory - see below. Note: Even after cutting the track back in May 1982, Springsteen returned to it with two demos recorded on January 3 and 15, 1983. Note: aka "James Lincoln Deer(e)". Demoed across four sessions, January 20, February 15 and 17, and March 12, 1983. Evolved into "Richfield Whistle". Note: Uncirculated track recorded at some point prior to February 1983. Note: Uncirculated track recorded February 15, 1983. Note: Uncirculated track recorded March 9 and 12, 1983 and marked as "new idea" on the March 9 reel. Included on a 1993 in-house //Tracks// "concept album". Note: Uncirculated track recorded January 20, 1983. Received extensive workouts at The Hit Factory in both May/June and November 1983. Despite this attention, it remains in the vaults. Note: Recorded April 24, 1983. Brilliant song that developed from a 1981-82 work-in-progress composition called “James Lincoln Dear” (see 1981 Home Demo section in On The Tracks). Later recorded with the band at The Hit Factory in May and June (see below). Note: Recorded April 20-21, 1983. Bruce re-recorded this with The E Street Band in June 1983 in a much more rocking arrangement. Note: Two slightly different mixes of the same performance, recorded March 24, 1983. Another atmospheric gem. Note: Two different recordings but quite similar, both recorded January 20, 1983. Short, but sweet. Considered for use as a b-side in March 1983, see below for details. Note: Two different recordings. V1 is more rocking and has a quick fade-out. V2 is the definitive version and features an extra verse not found in V1. The song is missing from studio logs, suggesting it was recorded at a standalone session, separate from the other songs listed here. Note: Same core recording from January 19, 1983 but four different mixes. V1a is considered by many to be the definitive version of the song – it contains two additional lyric verses that were cut from the three other mixes. V1c contains a violin part courtesy of Soozie Tyrell that she overdubbed, probably in May 1983 (her first session work for Bruce). V1d brings the violin more to the fore in the mix. Considered for the album before it was released in 1984 as the b-side to "Born In The USA". Note: The Lost Masters 17 liner notes suggest V1a and V1b feature different vocal takes, if that's the case we can't identify any variations. Vocally, all four seem to be identical and any differences may only be in the mix. Recorded January 29-30 and February 7-8 and 17, 1983 and considered for the album. Haunting rewrite of the Elvis Presley classic which was considered at one point for //Born In The USA//. Premiered live on April 19, 1981 in Paris during The River Tour, and played occasionally thereafter. Shares a melody with "Baby I'm So Cold", above. Note: Four different, complete performances, all done in rockabilly arrangements. All versions are sung in third person (“Your Hometown”). Springsteen re-recorded this with The E Street Band in May 1983 in a much more effective arrangement. Note: Takes recorded January 18-19 and 30, February 7-8, 14 and 17, 1983. Five takes circulate, all complete performances in varying arrangements. V1 is rockabilly. V2 and V5 are more rock-orientated, and appear to have the same vocal take. The only differences between the two may be in the backing music, or the mix. The Lost Masters liner notes consider V3 to be in a country-style, but is actually in the Cajun style. These arrangements pale in comparison to V4 which is quiet and atmospheric and the definitive version. Recorded in the studio in May 1983 - see below for details. Performed live twice on the 1984-5 Born In The U.S.A. Tour, but never since. Note: Takes recorded in early January (possibly the 4th), March 9 and March 24, 1983. Four different base recordings circulate, with five different mixes of V4. V4d (released in 1985 as the B-side to "I'm On Fire") features a different drum overdub to that found on //Tracks//. V4b and V4c have slight but noticeable variations in their mixes. V1 and V2 are different takes of a slower acoustic arrangement with a gentle synthesizer backing, slight lyric differences and overdubbed with chirping crickets at the start and end. By far the definitive performance is V3, which includes a poignant extra lyric verse at the end that is not found on other versions. Bruce borrowed the first two lines from Chuck Berry’s song “Bye Bye Johnny” (as well as the play on the title) and adapted "Come On (Let's Go Tonight)" (which was recorded in 1977 during sessions for //Darkness On The Edge Of Town//), to create "Johnny Bye-Bye". Finished during the European leg of the River Tour, premiered live May 13, 1981 in Manchester, and later performed on the Born In The U.S.A. Tour with slight adaptations to the lyrics and arrangement. Registered as a Springsteen-Berry composition. Note: Known recordings on January 4, 18 and 20, February 8-10 and 14-15, and March 10 and 12, 1983. All circulating recordings are complete takes, except for V5, which is abandoned. V1 thru V3 and V9 are rock-flavored and appear to share the same vocal-take. Indeed, the differences between the takes are slight, and may only be found in the backing music or the mix. V4 thru V8 are acoustic-flavored, and once again seem to share the same vocal-take. V10 utilizes double tracked vocal, a different melody and lyrics and is excellent. It could perhaps be considered a completely different song that only shares a title with the other versions listed here. It may well be this song (V10) that was considered for use as a b-side - see TIMELINE below. V11 is the slowest and arguably the definitive version, using the same backing music as "The Klansman". Note: Even after the song was cut in the spring of 1982, Bruce returned to "Downbound Train" on February 2, 1983. Note: As with "Downbound Train above, Bruce would return to "Losin' Kind". Take(s) recorded March 12, 1983.

//**TIMELINE:** Springsteen has mentioned that at one point in early 1983 he gave consideration to releasing the best of these above-mentioned Los Angeles home studio recordings as a thematic follow-up to the Nebraska album. This album concept is not known to have ever been given a working title because Springsteen quickly abandoned the concept. Although none of these Los Angeles recordings ultimately ended up on the album, two of them (“Shut Out The Light” and “Johnny Bye Bye”) were issued as b-sides in 1984-5. Although still unreleased “The Klansman”, “Unsatisfied Heart” and “Richfield Whistle” are among Bruce's most compelling. Soon after abandoning the idea of the above-mentioned album brief consideration was given to combining tracks from both the Phase One and Phase Two – with a tentative album title of “Murder Incorporated”. A document exists from around March 1983 revealing Springsteen's then-selections for the so-called “Murder Incorporated” album, as well his choices for b-sides. This tracklisting appears to have been produced prior to the undertaking of the Phase Three Sessions. Springsteen's selections (all of which had been recorded at this stage) were as follows://

//Springsteen didn't settle for the above-mentioned song line-up but instead opted for more sessions. Bruce began a new round of recording with The E Street Band at The Hit Factory in New York in May 1983. It appears to have been their first studio get-together in nearly a year. Steve Van Zandt, who was busy at the time recording his second solo album and touring with his own group, doesn't seem to have been present during much of these May-June 1983 E Street Band sessions.//

code PHASE THREE SESSIONS Recorded at The Hit Factory (New York City), May thru June 1983 Recording Engineer: Toby Scott code Note: Recorded May 23, 1983. Features Ruth Jackson on background vocals. This was likely recorded at the same session as “My Hometown” (which also features Jackson). Not as atmospheric as the version recorded during the January 1983 sessions and released on //The Essential Bruce Springsteen//. Note: Seven takes recorded on May 23 and 24, 1983. Listed on two separate //Tracks// concept compilations, one from 1993, the other November 1997. Note: Recorded May 23 and 25, 1983. Likely sessions to add Soozie Tyrell's violin to January's Thrill Hill West recording. Note: Fourteen takes recorded at The Hit Factory on May 25, 1983. V1-V6 recorded at Thrill Hill West in January-February 1983. Note: Recorded May 25, 1983. Quite a complex story behind this song. The original title when recorded during the //Born In The U.S.A.// sessions was “Just Around The Corner To The Light Of Day”. A demo of the song was sent to screenwriter/director Paul Schrader in 1985 for consideration for his upcoming film about struggling rock musicians. Ironically Schrader had sent Springsteen a draft screenplay for this movie (then-titled //Born In The U.S.A.//) in 1981 hoping Bruce might craft a song for it. Bruce never did write a song for Schrader at the time. Schrader then put this film project on hold to direct the 1982 movie //Cat People//. However the script’s title (though not its storyline) spurred Bruce at the time to alter a partially written song of his called “Vietnam” (see 1981 Home Recording Section in OTT) and create the song “Born In The U.S.A.”. Fast forward four years – in 1985, when Schrader received the go-ahead to make the film, he couldn't use his title //Born In The U.S.A.// because by that point it had become too closely associated with Springsteen. Schrader again asked Bruce for a song and Bruce donated this – which Schrader loved so much that he re-copyrighted his screenplay in 1985 under the new title //Just Around The Corner To The Light Of Day//. In 1986 when the film was being shot, both the movie and song titles were shortened to //Light Of Day//. It had never been intended that Springsteen’s recording would be used in the film. The song was recorded by the film’s stars, Joan Jett and Michael J. Fox (“The Barbusters”), and released concurrently with the movie in February 1987. The Barbusters first performed the song live at a nightclub appearance in mid-1986. Springsteen first performed the song live on April 12, 1987. A later live version was officially released on //MTV Unplugged//. Note: Studio logs show a song with this title was recorded at The Hit Factory on May 25 and 31, 1983. It's possible this is an early version of "Seeds", which includes the lyrics //'Movin' on movin' on it's gone gone it's all gone'//. "Seeds" was premiered in London on July 3, 1985 during the Born In The USA Tour. Note: Demoed solo in January, recorded with the band at The Hit Factory on May 25 and June 2, 1983. Bruce would return to "Body And Soul" in November. Note: Recorded with the band at The Hit Factory on May 27 and June 10, 1983, although it is possible that it was merely the April 1983 demo receiving overdubs. Note: Recorded on May 31, 1983. Officially released in May 1984 as the b-side to "Dancing In The Dark". V1b is a mono mix that for some reason was only issued on the Japanese single. Included on a 1984 //Born In The USA// artwork prototype, in place of both "No Surrender" and "I'm Goin' Down". Note: Two takes recorded May 31, 1983, one labelled as "fast". Note: Recorded on May 31, 1983 under the title "Small Town Girl". Springsteen would return to the song in November. Note: Recorded in at least eleven takes between May 31 and June 2, 1983. Previous information suggested that the song pre-dated "Cover Me", but studio logs say otherwise. The final cut was edited down to 4:35 from the original seven minutes before Springsteen included it on a July 1983 //Born In The USA// track listing between "None But The Brave" and "Shut Out The Light". "Cover Me" won out in the end, but "Drop On Down And Cover Me" also warranted inclusion on early //Tracks// listings. Note: Previously a 1982 solo demo, recorded with the band at The Hit Factory on June 2, 1983. Shortlisted for //Tracks//. Note: Recorded at The Hit Factory on June 2, 1983. Note: Two different mixes of the same basic recording, from June 6, 13 and 27, 1983. Recording features Steve Van Zandt. Note: Recorded on June 13, 1983. Same recording, different mixes. V2a has sax. V2b has the sax deleted. V1 is a band rehearsal from April 1982 - see above for details. Note: Recorded June 13, 1983. One take only, with a 5:38 running time. V1 was recorded solo earlier in the Spring of 1983. Note: Recorded June 15, 1983. The arrangement chosen for this studio recording is unknown. Note: Three takes (two complete) recorded on June 15, 1983, not April 20 as the //Tracks// notes claim. Bruce was recording at Thrill Hill West on that day. Two different mixes circulate. Note: Recorded on June 16, 1983. V1a is the superior version and contains an additional verse edited from the original b-side, which was released in May 1985 with "Glory Days". Note: Both are the same core recording. Recorded on June 16, 1983 and released in August 1985 on the B-side of "I'm Goin' Down". V1a has a much longer fade out and features Steve Van Zandt on background vocals and guitar. V1b is the same recording but features a summer 1985 Nils Lofgren vocal overdub replacing Van Zandt’s. Note: Four takes recorded late in the sessions on June 29, 1983. Two different performances circulate, both featuring Ruth Jackson (wife of sound engineer Bruce Jackson) on background vocals. Take #1 and #2 clocked in at over six minutes. Take #3 was preferred for //Born In The USA// and #4 can be found on Lost Masters 19. Note: Eight takes recorded July 28, 1983.

//**TIMELINE:** Following the end of the Phase Three sessions in June 1983 major mixing sessions took place. Some in CBS were talking of a possible of a pre-Christmas release. With three sessions phases now complete there was certainly no shortage of outstanding material to pick from. On July 26-27 Springsteen compiled a twelve-song album sequence comprised of three songs carried over from the 1982 sequence, four from the early 1983 sessions and five from the recent E Street Band sessions. The July 1983 album sequence reads as follows://

Side One

Side Two

//However, as had been in the case in March, Bruce decided to hold off and continue writing more songs. He felt that his selection lacked cohesion, and the sound quality of the garage tracks jarred in comparison to the studio tracks. This resulted in yet another final phase of scattered studio sessions from autumn 1983 into the early months of 1984. Due to extremely tight security at the time little is known about this final session period and precious little unofficial audio has ever leaked out.//

//All too aware that Springsteen was having difficulties making the final selection, Jon Landau took the unique step of creating his own ideal album, based on what had been recorded to date. As can be seen from the above track list, Bruce had all but abandoned what Landau felt were his best songs, those recorded in the early sessions in May 1982. Landau's selection covered eleven songs with the May 1982 songs forming the backbone; "Born In The U.S.A.", "I'm Goin' Down", "Cover Me", "My Hometown" and "Bobby Jean" on side one, with "My Love Will Not Let You Down", "Follow That Dream", "Glory Days", "Protection", "Janey, Don't You Lose Heart" and "I'm On Fire" on the flip-side.//

code PHASE FOUR SESSIONS Recorded at The Hit Factory (New York City), September 1983 thru February 1984 Recording Engineer: Toby Scott code Note: Recorded on September 14-16 and October 10, 1983. Date in //Tracks// (September 4) appears to be a mistake. Note: Recorded September 16, 1983. Included on a //Tracks// concept compilation in 1993. Note: V2a and V2b are different mixes of the same recording made on October 10, 1983, with V2a featuring some unusual keyboard work. Eight takes (V1 above) were previously recorded on July 28, 1983. Note: Album arrangement (V1) recorded October 25-27, 1983. Richie "La Bamba" Rosenberg contributes background vocals. Springsteen would return on November 29, 1983 to cut an acoustic version (V2). Almost didn't make the album, it was only added after Steve Van Zandt convinced Springsteen that it should be included. At the time CBS had an eleven-song album without "No Surrender" ready to go. Van Zandt argued that "Dancing In The Dark" should be cut in favour of "No Surrender", but in the end there was space on the album for both. Note: Recorded October 26, 1983. Note: Recorded October 26, 1983. Note: Recorded November 29, 1983. Initially demoed in January before it was recorded with the band in May and June at The Hit Factory. Despite this attention, it remains in the vaults. Note: Six months after it was in the can, Springsteen returns for another go, on November 30, 1983. Note: Recorded November 30, 1983. Note: Recorded November 30, 1983. Note: Recorded November 30, 1983. Springsteen may have returned to this song for //Tracks//, a song titled "Under A Big Sky" was recorded in April 1998. Note: Recorded on January 12, 1984. Springsteen premiered the song live on July 12, 1984 on the Born In The U.S.A. Tour. Note: Recorded on January 12, 1984. Recording date (February 3) on //Tracks// could be a mixing date. Note: Recorded on February 16, 1984. Note: The last song on //Born In The U.S.A// to be recorded. Written in no time at all after Jon Landau convinced Bruce that the album needed a single. According to Dave Marsh in //Glory Days//, Bruce was not impressed with Landau's approach. “Look,” he snarled, “I’ve written seventy songs. You want another one, you write it.” Despite this reaction, Bruce sat in his hotel room and wrote the song in a single night. It sums up his state of mind, his feeling of isolation after the success of //The River//, and his frustrations of trying to write a hit-single. Six takes cut on February 14, 1984, although the mixing sessions for this and some other songs were not completed until March. V1a contains a longer sax solo at the end that was shortened (cut) for the official album version. V1c thru V1e are dance/disco remixes that were mixed at The Power Station in April or early May 1984 by Producer/mixer Arthur Baker. The recording engineer for the remixes was Chris Lord-Alge. These remixes were first released in late June 1984. The 12" single was released May 9, 1984 and was the biggest selling 12” single in the U.S.A. that year. Note: Recorded on February 20, 1984. Included on a //Tracks// concept compilation in 1993.

Part Three - other songs

Note: During the Born In The U.S.A. Tour Springsteen & The E Street Band pre-show soundchecked the song at least once (September 17, 1984 in Philadelphia) but it was never performed in concert on that tour, or since. It has been suggested the song was recorded late in the sessions, but it does not appear in the studio logs until solo sessions between November 1997 and January 1998. Note: The original title to “Summer On Signal Hill” prior to Springsteen scrapping the lyrics, re-titling it and donating it to Clarence Clemons & The Red Bank Rockers, who recorded it as a b-side in summer 1983. Springsteen’s music publisher in Australia was accidentally sent the wrong information, so Clarence’s instrumental was published and released there in 1983 as “Now And Forever”. Note: An instrumental donated to Clarence Clemons & The Red Bank Rockers, who recorded it as a b-side in late summer of 1983, with Springsteen as producer.

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